egroj world: junio 2016

jueves, 30 de junio de 2016

Michel & Tony Petrucciani • Conversation

Review by Ken Dryden
Michel Petrucciani always excelled in front of a live audience, and this 1992 concert with his father Tony accompanying him on guitar is no exception, though it's a shame it wasn't released until 2001, some two years after the pianist's death. An adventurous exploration of "Summertime" serves as a strong opener, followed by the playful waltz "Sometime Ago." The complex introduction to "All the Things You Are" and well disguised path into "My Funny Valentine" are by themselves worth the price of the CD. Michel gets a bit heavy-handed during parts of "Someday My Prince Will Come," overwhelming his partner's soft chords. There are solo features, too: Tony Petrucciani tackles Django Reinhardt's lovely ballad "Nuages" with finesse; while Michel is no doubt inspired by Bill Evans' many recordings of Miles Davis' "Nardis," he finds his own path during a dramatic improvisation. The sign off by the duo includes a rapid-fire take of "Billie's Bounce" and a gently swinging version of "Satin Doll." Recommended.

Paul Wagnberg Organ Unit • Catch 22

Paul (Palle) Wagnberg (born 1961 in Norrköping, Sweden) is a Swedish-Norwegian jazz musician, mostly known for his jazz-organ playing. He also sings and plays the piano in addition to composing.

Since 1985 he has been playing professionally with his Hammond B3 organ. He is in particular known for his footwork on the bass pedals.

He is well known for his collaborations within the Swedish-Norwegian jazz quartet The Real Thing, comprising Wagnberg (Hammond B3 organ), Staffan William-Olsson (guitar), Børre Dalhaug (drums) and the late Sigurd Køhn (saxophone). The Real Thing is currently put on hold after Køhn died in 2004 in Thailand by the tsunami catastrophe.

With his own trio Wagnberg has released three albums, Eat Meat (1999) with Torstein Ellingsen (drums) and Randy Johnston (guitar), Gone Fishing (2001) with Torstein Ellingsen (drums) and Frode Kjekstad (guitar) and Catch 22 (2007) with Erik In 2009 he contributed organ on Stina Stenerud's album Kissing Fools with Hildegunn Øiseth on trumpet. Apart from his own «Organ Unit», Wagnberg is organist in the tribute band «Santana The Experience» from Stockholm. [wiki]

Little Richard • The Fabulous - LP London HA U 2193

Deborah Henson-Conant • Round The Corner

Deborah Henson-Conant (n. Stockton, California, 11 de noviembre de 1953) es una arpista estadounidense. De apariencia extravagante, es famosa por rehusar vestirse y actuar de acuerdo con el estereotipo angelical de la mujer arpista.
En su sitio de la red, se describe a sí misma como una artista de género mixto: hace jazz, pop, comedia, folk, blues, flamenco y música celta, y toca varios tipos de arpa eléctrica. Presenta espectáculos unipersonales en teatros, salones de concierto y festivales. También realiza presentaciones con orquestas sinfónicas. En esas ocasiones, ella instrumenta su propia música, y a menudo requiere de los músicos actuaciones poco ortodoxas. Sus presentaciones mezclan la música con elementos teatrales y narrativos.

La banda de sonido de su DVD "Invention & Alchemy", publicado en 2006, fue nominado a los Premios Grammy.

Su gira "Inviting Invention" (2006) presentaba una serie de "exploraciones interpretativas" que incluían colaboraciones de varios invitados, tanto musicales como de otras disciplinas.
Henson-Conant actualmente vive en Arlington, Massachusetts.

Deborah Henson-Conant (born November 11, 1953 in Stockton, California) is an American harpist and composer. Nicknamed "the Hip Harpist", she is known for her flamboyant stage presence and her innovation with electric harps.

Deborah Henson-Conant describes her music as "cross-genre: jazz-pop-comedy-folk-blues-flamenco-celtic". Deborah performs one-person shows in theaters, concert halls and festivals; and she does original music and theatre shows with symphony orchestras. Her performances mix music with theatrical and story elements. She orchestrates all her own music when she plays with symphony and often engages symphonic musicians in unexpected ways. She states that her career objectives include a desire to reevaluate misconceptions and underestimations of the harp instrument, of the stage medium, and of the self.

The soundtrack of her 2006 DVD Invention & Alchemy, received a Grammy nomination, and the video version began broadcast on American public television in 2007. Her performance series Inviting Invention (2006) presents a series of "performance explorations" that includes both musical and non-musical guests collaborating onstage with Henson-Conant.

In 2012, she joined Steve Vai's band for his 2012 tour and album, The Story of Light. In October 2013, Henson-Conant performed and represented the United States at the 7th annual World Harp Festival, in Asunción, Paraguay.

As you know, a lot of my music is compositional, and there's a lot of arpeggiated guitar parts. They work really well on the harp, especially since it's an electric harp and you can process it. Deborah does a really great job with that, adding those textures. ... I've studied it very precisely. I can't play it, but I understand it. What Deborah has is a little different because she has a strap-on harp with a particular range. ... There's a new kind of challenge. - Steve Vai -

Melvin Rhyne • Front And Center

Hammond B-3 master Melvin Rhyne's eighth Criss Cross release as a leader is another sterling chapter in his association with guitarist Peter Bernstein. Their exquisite rapport is assisted by another one of Rhyne's longtime colleagues, drummer Ray Appleton.

The trio skillfully maneuvers through a program of choice items from the American Popular Songbook, classic jazz compositions like 'All Blues' and 'Jordu', as well as Rhyne's originals.

Readily moving from blues to ballads to up-tempo burners, Rhyne and company make this an essential addition to his impressive discography.

Sam Myers • Coming From The Old School

Art Van Damme • Accordion A La Mode & A Perfect Match

The combination of these Art Van Damme albums, Accordion à la Mode and A Perfect Match, provide pleasant interpretations of pop-jazz standards with the accordion as the featured instrument. The familiar melodies of "On Green Dolphin Street," "Poinciana," and "Bye Bye Blackbird" hold up exceptionally well. These LPs were originally released on Columbia Records in the early '60s and had been out of print until Collectables reissued them in 2000.

Nick Rossi Set • On The Outset

Najponk, Pivec & Hutchinson • It's About Time

Najponk: Fender Rhodes Piano
Odrej Pivec: Hammond B3 Organ
Gregory Hutchinson: Drums

Dr. Lonnie Smith • The Art Of Organizing

Francisco de Zurbarán (1598-1664)

Francisco de Zurbarán (Fuente de Cantos, 7 de noviembre de 1598 – Madrid, 27 de agosto de 1664) fue un pintor del Siglo de Oro español.
Contemporáneo y amigo de Velázquez, Zurbarán destacó en la pintura religiosa, en la que su arte revela una gran fuerza visual y un profundo misticismo.
 Fue un artista representativo de la Contrarreforma. Influido en sus comienzos por Caravaggio, su estilo fue evolucionando para aproximarse a los maestros manieristas italianos. Sus representaciones se alejan del realismo de Velázquez y sus composiciones se caracterizan por un modelado claroscuro con tonos más ácidos.

En esta entrada comparto 59 imágenes de sus pinturas y 3 archivos pdf:
-Francisco De Zurbarán - Su Epoca su Vida su Obra - Jose Cascales y Muñoz
-La Verónica de Zurbarán - Víctor Stoichita
-The Metropolitan Museum Of Art New York - Zurbaran


Francisco de Zurbarán (baptized November 7, 1598 – August 27, 1664) was a Spanish painter. He is known primarily for his religious paintings depicting monks, nuns, and martyrs, and for his still-lifes. Zurbarán gained the nickname Spanish Caravaggio, owing to the forceful, realistic use of chiaroscuro in which he excelled.
full bio ...

In this post I share 59 images of his paintings and 3 pdf files:
-Francisco De Zurbarán - Su Epoca su Vida su Obra - Jose Cascales y Muñoz
-La Verónica de Zurbarán - Víctor Stoichita
-The Metropolitan Museum Of Art New York - Zurbaran

Jimmy Caravan • Look Into The Flower

Ray Nance • Body And Soul

Ray no sólo fue violinista sino también trompetista y cantante. Este disco es de su faceta con el violín del año 1969.


 Ray was not only cool but also trumpeter and singer. This album is his role with the violin of 1969.

VA • Six Vital Organs - Home Of The Hammond

Baby Face Willette, Brother Jack McDuff, Jimmy McGriff, Jimmy Smith, John Patton, Larry Young.

Muddy Waters • Authorized Bootleg

El gran Muddy en vivo.  /  The great Muddy live.

Lou Mecca, Bill de Arango & Chuck Wayne • 3 Swinging Guitar Sessions

Originally issued on three 10-inch LPs, these albums feature three outstanding but underrated jazz guitarists: Lou Mecca, Bill de Arango and Chuck Wayne.

Crisp, inventive and fleet-fingered, Mecca found his own voice from his main inspiration, Tal Farlow, whom he replaced in the Gil Mellé Quartet. Lous classical guitar sound is complemented in this 1954 Blue Note recording by fine vibist Jack Hitchcock, bassist Vinnie Burke and drummer Jimmy Campbell.

De Arango, among the first of the modern jazz guitarists in 52nd Streets heyday, hadnt recorded for a while when he made his album for EmArcy in 1954. His full sound, great swing and consistently imaginative power were in the Charlie Christian tradition, but, as this date proves, he was also very individual. Here, he is backed excellently by pianist Johnny Williams, bassist Teddy Kotick and drummer Art Mardigan.

Masterful as a soloist and rhythm player, Chuck Wayne conclusively proved his worth as a standout member of Woody Hermans First Herd, and in his contribution to the success of George Shearings Quintet. On this excellent 1953 Progressive album with Brew Moore and Zoot Sims he shines with both, achieving a relaxed unity with each. For all who dig guitar, this is a well seasoned group of performances by three articulate and compelling guitarists.


"Once upon a time, the most exciting sounds in jazz and popular music was when the jazz artists stopped screaming at the audience and whispered sweet and intricate melodies to their fans. Here's a recent reissue from Fresh Sound Records to show how to make people listen harder by playing softer.

Before long playing lps, there were things called 10 inch records (the theme made famous by Bull Moose Jackson) which featured a handful of songs by artists. Here, weve got 3 such beauties by cool toned guitarists that seem to be overlooked these years.

Lou Mecca is caught here in a 1955 session with Jack Hitchcock/vib, Vinnie Burke/b and Jimmy Campbell/dr on a lithely swinging session that includes subtle but fervent reads of All the Things You Are and You Go to My Head. Meccas got a clean sound, and it works in great contrast to Hitchcocks chiming work on Just One of Those Things. Bill De Arango was deeply influenced by Charlie Christian, and swings up a storm with Johnny Williams/p, Teddy Kotick/b and Art Mardigan on a 54 studio recording with swift and succinct takes of All Gods Children Got Rhythm and lyrical delights on These Foolish Things and Alone Together. Chuck Wayne made his name with Tony Bennett, and here teams up with tenor saxists Brew Moore or Zoot Sims along with Harvey Leonard/p, George Duvivier/b and Ed Shaughnessey/dr for some easy toe tappers like You Brought a New Kind of Love to Me and Butterfingers.

These three gents emphasized understatement and class, which is a missing ingredient in this day of button turners and pedal pushers imitating guitarists."

George W. Harris (November 2, 2015)


"Theres no fat on that title, and it takes in the Tal Farlow-inspired Mecca, the Charlie Christian-inspired De Arango, and Wayne, who contributed both to Hermans First Herd and George Shearings quintet.

Meccas at his most individual on Bernies Tune, while Hitchcocks stylistic distinction is as personal as Lem Winchesters, as per Just One Of Those Things where the two men prove as adept at mood as they are at instrumental colour. De Arangos at his most poetic on The Nearness Of You, although its certainly more generally true that he has a happy knack for making something of even the most overdone material, as per These Foolish Things, where despite his tendency to be ahead of the beat he still manages to extract poignant gold.

The Wayne titles are the most memorable, thanks in no small part to the presence of Brew Moore or Zoot Sims. The deceptive ease of Wayne and Moores unity on You Brought A New Kind Of Love To Me is enough to lift the spirits of all but the most moribund, while Im starting to think there was no musical company that Sims wasnt happy in, such is his calm authority on Prospecting."

Nic Jones -Jazz Journal (September, 2015)

Joe Houston • Doin' The Twist

Ken Peplowski • Live At Maybeck with Howard Alden

miércoles, 29 de junio de 2016

Larry Garner • Once Upon The Blues

Al Gafa • Leblon Beach

The Link Quartet • Evolution

Album Notes
Link Quartet have been gaining quite a following their 2 mind-blowing funk-tastic albums (Beat.It, 2002 / Italian Playboys, 2004) for Hammondbeat, but many are unaware of their earlier years of recording in Europe. "Evolution" documents everything released from 1997 to 2001 - all of which is out-of-print and in constant demand from fans around the world.

Hammondbeat is ecstatic to collect all of this rare material not only for collectors and fans, but to allow the music to tell the story of those early days of a band finding its voice that would eventually fuse into the confection they are today.

"Evolution" is presented chronologically from the very first 45 "Alfa Romeo Giulietta" to their debut mini-album "Episode 1", with rare compilation appearances (France, Spain, Italy, UK) and 2 never-before-released tracks making this the definitive "early days" compendium. “Evolution” puts the entire Link Quartet catalog under the Hammondbeat umbrella, a label that is nothing if not dedicated!

Part one features 2 rare 45’s (Alfa Romeo Giulietta and Sgnapp) from the Animal label in Spain, 2 songs from the popular Mondo Beat compilation series, and 2 unreleased tracks from the vaults: James Brown’s “Ain’t It Funky Now?” and mod fave “Holiday In Monte Carlo”.

Herbie Mann • Hold On I'm Coming, Live Montreux Jazz Festival

Claude Monet • Nina Kalitina, pdf

Claude Monet / Nina Kalitina
2011 | Inglés | 200 pages | pdf | 58 MB

Atsuko Hashimoto • ...Until the Sun Comes Up

Atsuko Hashimoto, is a jazz musician from Osaka, Japan who plays Hammond B-3 electronic organ and has performed in Japan and the United States. To date, she has recorded five albums of organ trio and organ quartet jazz.
Complete Bio ...

Atsuko Hashimoto: "... Until the Sun Comes Up" (2011)
Jazz organists often have a tendency to gravitate toward the funkier side of things, and have done so since the glory days of Jimmy Smith and Jimmy McGriff. Organist Atsuko Hashimoto, on the other hand, seems to have focused more tightly on developing her sense of swing, and it pays off mightily on this, her first album for the venerable Capri label. The program is a mix of originals and truly well-worn standards, and what may be most impressive about the album is her ability to bring freshness and energy to some of these chestnuts through sheer energy and the elephantine power of her swing; listen, for example, to her renditions of both "Cherry" and "Yours Is My Heart Alone." Not only are her solos amazing for their joyful inventiveness, but the rhythmic power she generates along with her sidemen Graham Dechter (guitar) and Jeff Hamilton (drums) is like a force of nature. Elsewhere she takes brisk, no-nonsense midtempo renditions of "So in Love" and "Moon River" and turns them into something brand new. The group's arrangement of "It's a Wonderful World" is the album's sole disappointment, a predictably sappy rendition that is just barely redeemed by yet another brilliantly constructed organ solo. The album ends on a very high note, with the joyfully gospel-flavored "Hallelujah I Love Her So." This is a brilliant and thrilling album.

Grant Green • Nigeria (LP)

Sonny Clark, Art Blakey, Sam Jones, Grant Green.

Johnny 'Hammond' Smith • Here It ‘Tis

Miroslav Lelyukh • Song for

Born on 08.03.1981, the accordionist Miroslav Lelyukh is a professional musician from Kaliningrad (Russia). His mother is a pianist, music teacher, poet and composer; his father is an engineer of space forces; brother and sister also graduated from music school accordion. He attended the Kaliningrad Music School renamed "R.M.Glier" (1989-1996), Kaliningrad Regional Music College renamed "S.V.Rakhmaninov" (1996-2000), Saint-Petersburg State University of Culture and Arts (2000-2005). Specialty: concert performer, soloist of ensemble, soloist of orchestra, teacher, conductor. Laureate of international competitions, Miroslav Lelyukh was member of the festivals in Russia, Finland, Sweden, Italy, Latvia, Lithuania, Poland, Brasil. He has won numerous awards including: competition "Muzy Peterburga" ("Muses of Petersburg"); first place in the Variety category at the International cpmpetition "Peter-Paul Assemblies of Harmonica" (Saint-Petersburg, 2003); winner of three first prizes at the prestigious International Competition of Accordionists "Citta di Castelfidardo" (Italy, 2004).
Miroslav Lelyukh was the first of Russian accordionists have taken the first place in category Variete Senior for 29-years-long history of the competition in Castelfidardo (2004) and the first performer in Russia playing the accordion of the world famous Italian company Borsini Accordions of Castelfidardo.
He has performed with Daugavpils Accordion orchestra, Lithuanian Youth Accordion orchestra, Kaliningrad Reginal orchestras. He had performances on the radio (Mayak-Kaliningrad and Radio-Gama of Klaipeda), and on television created a number of stories about concerts and creativity of accordionist.
He was organizer and member of the jury of the International Festival Competition "Salute, accordion!" (Kaliningrad, 2011-2012). He gives consultations and master-classes in various music schools of Kaliningrad and abroad. Over the years, has created several different projects with different staff and repertoire. Concerts were held with great success in the best concert halls of Kaliningrad and abroad (Moscow, Saint-Petersburg, Turku, Vilnius, Klaipeda, Palanga, Warsawa, Lodz, Riga, Daugavpils, Castelfidardo, Eugene, Los-Angeles, Belo Horizonte and others).

Lou McGarity Quintet • Music From Some Like It Hot

Artist Biography by Scott Yanow
A very talented trombone soloist influenced by Jack Teagarden but possessing his own brassier sound, Lou McGarity was a strong asset to many bands and jam sessions. He started out playing violin when he was seven, not switching to trombone until he was 17. McGarity studied at the University of Georgia from 1934-36, gigged locally in the South (including with Kirk DeVore and Nye Mayhew), and toured with Ben Bernie from 1938-40 before hitting the big time with Benny Goodman from 1940-42. McGarity not only played with Benny Goodman's big band but with his smaller groups -- the first trombonist to do so. McGarity, who through the years often teamed up with his friend and fellow trombonist Cutty Cutshall (including with Goodman), worked with Raymond Scott's Orchestra at CBS from 1942-44, spent time in the military and then rejoined Benny Goodman for a time in 1946. Starting in 1947, he worked as a busy studio musician in New York, often appearing nightly with Dixieland-oriented musicians, including the Lawson/Haggart band, and with the many groups of Eddie Condon. He worked with Bob Crosby in the mid-'60s and was a key member of the World's Greatest Jazz Band from 1968-70 before bad health shortened his life. McGarity recorded as a leader for MGM (four selections in 1955), Jubilee in 1959, Argo in 1959 and Fat Cat's Jazz in 1970.

Gene Ludwig • Soul Serenade

Review by Dave Nathan
Gene Ludwig comes from the romantic school of Hammond B3 organ players and, with more than 40 years at the job, he is part of the organ tradition. His playing is relaxed, laid-back, drenched with a mix of blues and soul. He understands that the organ quartet can be one of the most pleasurable listening experiences in jazz. With an extremely large range of tone colors and timbres, the organ quartet can musically express the full range of human emotions, from romantic and sultry, to highly charged beat excitement, to soul-drenched melancholy. This potential is fully realized by Ludwig and his quartet on the appropriately titled Soul Serenade. With J. Willis and Don Aliquo Jr. sharing tenor sax duties, Ken Karsh kicking with well-placed guitar licks, and Tom Wendt on drums, this album falls foursquare into the organ combo arena led by more well-known -- but not more able -- B3 artists Jimmy McGriff, Jack McDuff, and Jimmy Smith. The play list was obviously constructed to bring out the best this group can offer. On "You Don't Know What Love Is," buttressed by the heartrending tenor sax of Aliquo, the quartet pulls out every ounce of feeling from this tune. In contrast, matters get moving at a swinging pace on "Freddie the Freeloader." Karsh's guitar gets full opportunity to explore the extemporizing possibilities of this Miles Davis classic. The title tune "Soul Serenade" is the organ counterpart of Gloria Lynne's ardent vocal version of 1965, making it a highlight of the album. Willis' slightly honking sax gives this cut an authentic R&B flavor. Tadd Dameron's "On a Misty Night" is the vehicle for Aliquo to brandish his dexterity at running through chord changes. "Duff's Blues" is pure swing, with Tom Wendt's drums getting plenty of attention. Some of the younger Hammond B3 organ practitioners on today's scene would do well to listen to this album to hear how the instrument can sound with its edges rounded a bit. Highly recommended.

Jay Hoggard • Overview

Jay Hoggard bio ...

martes, 28 de junio de 2016

Dave Specter • Speculatin'

Guitarist Dave Specter has always straddled the blues / jazz fence with a hip disregard for arbitrary restrictions. On Speculatin', his sixth Delmark CD, Dave has put his distinctive mark on a collection of outstanding instrumental tunes from all corners of these related genres, tossing in a latin beat and some greasy organ in addition to his unmistakable West Side and Texas-inspired blues licks. The result will please all lovers of lean, inspired guitar work and will astound the blues buyer who previously considered instrumentals to be mere CD filler. Speculatin' features nine original compositions and covers of tunes by Charles Earland, The Meters, Dizzy Gillespie and Junior Walker. Dave is accompanied by his working band of Rob Waters, Hammond B3 organ; Harlan Terson, bass; Mike Schlick, drums; and Rich Parenti, tenor sax.

"His funky lines echo the jazz masters, but his grinding single-note work is greasy enough for any Windy City after-hours club." -Guitar Player

"This is easily the best-recorded showcase yet for Specter's classy guitar stylings." - Living Blues

"Quintessentially hip and swinging." - Chicago Tribune

"Specter is indeed 'all that'." - Blues Access

Jean-Pierre Bertrand • Rhythm Boogie

lunes, 27 de junio de 2016

Georges Arvanitas Quintet • Soul Jazz

Dutch Swing College Band • Update

Reuben Wilson • The Sweet Life

After a series of sugary soul-jazz dates for Blue Note, Reuben Wilson resurfaced on Groove Merchant with The Sweet Life. The title notwithstanding, the session is his darkest and hardest-edged to date, complete with a physicality missing from previous efforts. Credit tenor saxophonist Ramon Morris, trumpeter Bill Hardman, guitarist Lloyd Davis, bassist Mickey Bass, and drummer Thomas Derrick, whose skin-tight grooves sand away the polished contours of Wilson's organ solos to reveal their diamond-sharp corners. The material, while predictable (i.e., standbys like "Inner City Blues" and "Never Can Say Goodbye"), is nevertheless well suited to the set's righteous funk sound. ~ Jason Ankeny Personnel: Reuben Wilson (organ); Lloyd Davis (guitar); Bill Hardman (trumpet). Recording information: 1972.

Shinichi Kinoshita & Roby Lakatos • SO GU

Shinichi Kinoshita, the leading tsugaru shamisen player among the younger generation, started learning shamisen at the age of 10 from his father who also was an artist. While tsugaru shamisen is a traditional instrument, Shinichi combined shamisen with rock and jazz and made a completely original music. In 1993, he started "Kinoshita Shinichi Group" composed of tsugaru shamisen, percussion, keyboard, electric guitar, and wadaiko (Japanese drum) and made "Tsugaru Shamisen Rock". In November 2001, Shinichi released two successful tsugaru shamisen albums, "Den" and "Kai" from avex io. "Den" features traditional repertoire while "Kai" features what Shinichi calls "tsugaru fusion". In June 2002, released "SOGU", an album made with a collaboration with Hungarian violinist Roby Lakatos and following year, he released another album, "Show" which features traditional tsugaru shamisen. While releasing albums, Shinichi also made nationwide tour as well as performed in different countries which all won high acclaim. In 2002, Shinichi joined Eitetsu Hayashi's (a renowned Japanese wadaiko player) US tour as well as made Central/South America tour in six countries. In 2003, performed at International Istanbul Music Festival and also gave several concerts at England.

" Wikipedia: "
Roby Lakatos, the 'devil’s fiddler', is a gypsy violinist from Hungary. He is renowned for his mix of classical music with Hungarian-gypsy music and jazz themes. Lakatos was born in 1965 into the legendary family of gypsy violinists descended from Janos Bihari, 'King of Gypsy Violinists'. He was introduced to music as a child and at age nine he made his public debut as first violin in a gypsy band. His musicianship was learnt not only with his own family, but also at the Béla Bartók Conservatory of Budapest, where he won the first prize for classical violin in 1984. Between 1986 and 1996, he and his ensemble played at 'Les Ateliers de La Grande Ile' in Brussels. He has collaborated with Vadim Repin and Stéphane Grappelli. It is claimed Lakatos' playing was greatly admired by Sir Yehudi Menuhin, who always made a point of visiting the club in Brussels to hear him. In March 2004, Lakatos appeared to great acclaim with the London Symphony Orchestra in the orchestra’s 'Genius of the Violin' festival alongside Maxim Vengerov."

Krzysztof Sadowski • Krzysztof Sadowski And His Hammond Organ

This is the first album on the legendary Polish Jazz series, which is dedicated to the Hammond organ, the godfather of the electronic keyboards and probably the most significant new instrument, which dominated Jazz and Progressive Rock in the late 1960s and early 1970s (although available since the 1930s). Keyboardist Krzysztof Sadowski belongs to the first post WWII generation of Polish Jazz musicians, debuting in the 1950s and active on the local scene for many years. He combined his love of Jazz and Rock, playing with the leading ensembles of both genres with equal dedication and success. This album presents his Hammond organ performances in two different environments: Side A of the original LP captures him accompanied just by drummer Andrzej Dabrowski and the duo moves through a Rocky set, which includes a Beatles medley. Side B finds him accompanied by the Polish Radio Jazz Studio Orchestra, led by saxophonist / composer Jan "Ptaszyn" Wroblewski and featuring top Polish Jazz players, among them saxophonist Janusz Muniak, bassist Bronislaw Suchanek, drummer Janusz Stefanski and many others. This set is much closer to Jazz and features a beautiful version of Krzysztof Komeda's ballad from "Rosemary's Baby".

Kenny Barron • The Only One

Review by Ron Wynn
Standards galore, each played with care, artistry, and brilliance by the Kenny Barron trio. If there must be continued recording of "Love For Sale" and "Surrey With The Fringe On Top," then these are the people to do it.


Shirley Scott • Drag 'Em Out

And Drag 'Em Out she does – on this, one of Shirley's best albums for Prestige! The set really cooks on side one – which is an extended album-side jam called "Drag Em Out", played by Shirley on organ, with Roy Brooks on drums and Major Holley on bass. This sort of long open track is quite different than Shirley's other recordings, and she really rises to meet the challenge. Side two is more standard stuff – 3 tunes, with titles that include "The Song Is Ended", "Out Of It", and "The Second Time Around".


Robert Walter • Cure All

If your concept of "Jazz Rock" is something like Mahavishnu or Chick Corea, this album will open your ears! This is jazz-rock with as much Doctor John and Booker T as John Coltrane. The trio swings, growls, slides and crawls like a hip alligator. On the last track, "T", Walter switches to a traditional Jazz trio and shows "Real Jazz Pianist" credentials, but most of the album (like the rollicking version of "Rivers of Babylon") has a playfulness that one doesn't hear in Jazz as much as one should. Amazon's pairing of this album with "Dance like there's no tomorrow" is perfect. Sometimes I listen to Jazz to concentrate, or to feed my love of abstract beauty. I listen to this for sheer pleasure: It just makes me feel good!

Robert Walter has no problem getting into funky, down-home soul-jazz when he wants to, but the organist/keyboardist/pianist also has his intellectual side. He obviously appreciates the soul-jazz that B-3 icons like Jimmy Smith, Richard "Groove" Holmes, Johnny "Hammond" Smith, and Jack McDuff offered in the '60s, but he has also shown his appreciation of Medeski, Martin & Wood as well as the post-bop and fusion that Larry Young explored after he moved beyond soul-jazz. And both sides of Walter's artistry serve him well on Cure All. If Walter (who forms a trio with bassist James Singleton and drummer Johnny Vidacovich) set out to offer a healthy balance of intellect and funkiness, he achieves that goal on enjoyable tracks such as "Maple Plank," "Snakes and Spiders," "Measure Up," and "Coupe." Most of the material is more cerebral than a typical soul-jazz performance would be, but at the same time, Cure All is less cerebral than Medeski, Martin & Wood's albums. Whether he is on organ, acoustic piano, or electric keyboards, Walter usually avoids becoming either too simple or too abstract. Not that there is anything wrong with either simplicity or abstraction; the straightforward, groove-loving bluesiness of Big John Patton and Gene Harris is every bit as valid a part of jazz as the most challenging pieces that John Medeski has had to offer. But Walter obviously wanted to avoid going too far in either direction, and that outlook yields consistently worthwhile results on Cure All.

Ron Levy's Wild Kingdom • Jazz A Licious Grooves

Legendary producer/keyboardist Ron Levy again serves up a collection of fat jams featuring special guests! Guests include Freddie Hubbard, Idris Muhammad, Melvin Sparks, Ralph Dorsey, Gray Sargent, Stanley Banks, and more.

VA • Guitares et Violons Tziganes

Atsuko Hashimoto Organ Trio • Time After Time

Atsuko Hashimoto, is a jazz musician from Osaka, Japan who plays Hammond B-3 electronic organ and has performed in Japan and the United States. To date, she has recorded five albums of organ trio and organ quartet jazz.

Hashimoto first played the organ at the age of four, beginning with popular songs and jazz standards. Before choosing to specialize in jazz she trained in classical music for several years. At 18, she began working for Hammond Japan demonstrating organs and giving lessons as a Hammond-certified instructor.

In 1991, Hashimoto became the house organ player at the Don Shop in Osaka. The next year, she fronted her own organ quartet at the Osaka Jazz Festival and Naniwa Arts Festival. These appearances led to collaborations with Makoto Ozone and Terumasa Hino.

In 1999, Hashimoto debuted in the US, playing at clubs in New Orleans as well as Jazz at Pearl's in San Francisco, where she performed with Bruce Forman on guitar and Vince Lateano on drums. In 2000, she toured Japan with "Brother" Jack McDuff and his band, and in September that year shared the bill with Dr. Lonnie Smith at Blue Note Osaka. 2001 saw Atsuko return to California, playing at the San Jose Jazz Festival, The Baked Potato in Studio City and the Kuumbwa Jazz Center in Santa Cruz. She played at the 2001 Jazz Organ Summit with Yutaka Hashimoto and Fukushi Tainaka.

In 2002, while he was touring Japan with Diana Krall, Jeff Hamilton first heard from other musicians about the electrifying Atsuko Hashimoto "holding court" at the Don Shop, enthralling audiences while playing jazz after hours. Following his set in Osaka, Hamilton went to hear her play and after a few songs, he asked and was invited to sit in with her on stage for a 'jam'. Hamilton has said the experience resolved in him a desire to tour and record with Hashimoto. Hashimoto and Hamilton have recorded two CDs together, touring to support the recordings.

In 2003, at the 40th Naniwa Arts Festival in Osaka, Atsuko received the Shoji Nakayama Jazz Award, the Progressive Musician's Prize, and awards from both the governor of Osaka Prefecture and the mayor of the city of Osaka.

September 2006, was a very busy month for the artist. September 5, Atsuko and Yutaka Hashimoto recorded at Capitol Studios in Los Angeles accompanied by Jeff Hamilton. Houston Person swapped in for Yutaka Hashimoto on a second collection of songs. The extended recording session resulted in both the Thousand Days Records album Time After Time, released March 5, 2008 and the Azica Records album Introducing Atsuko Hashimoto, released February 12, 2008. The next day, on September 6, Atsuko Hashimoto, Jeff Hamilton and Houston Person performed at San Diego Museum of Art where they received a standing ovation. On September 8, Hashimoto appeared at the White Noise Music Festival in Sacramento. On September 10, 2006 at the Jazzschool in Berkeley, Atsuko and Yutaka Hashimoto were joined by Juasa Kanoh on drums. Late in September, Atsuko and Yutaka Hashimoto were invited to the 12th West Coast Jazz Party in Irvine, California. There Mrs. Hashimoto played two sets with Jeff Hamilton on drums: one with Yutaka Hashimoto and Ron Eschete trading licks on guitar and one with Houston Person on tenor saxophone—the latter group billed as "Organ Magic Trio." They also played at the LAX Crowne Plaza Hotel's Brasserie Lounge in Los Angeles and Steamers Jazz Club in Fullerton.

At the 50th Monterey Jazz Festival in September 2007, Atsuko Hashimoto took part in the "Hammond B-3 Blowout" featuring the Joey DeFrancesco Trio and the Atsuko Hashimoto Trio. Her trio included Houston Person and Jeff Hamilton; the two trios were said to "blow out the Night Club." Prior to the Monterey date, Hashimoto appeared at Centrum (also known as Port Townsend Jazz Festival), Steamers Jazz Club, the Brasserie Lounge and the Pasadena Jazz Institute where Ron Eschete covered guitar.

At the 8th Newport Beach Jazz Party (a sister event to the West Coast Jazz Party) on February 17, 2008 Atsuko Hashimoto, Jeff Hamilton and Houston Person played a set billed as "International Power Trio". The next day, the Atsuko Hashimoto Organ Trio played Pasadena Jazz Institute, featuring Yutaka Hashimoto on guitar and Jeff Hamilton on drums. On February 22, 2008 Atsuko Hashimoto and Jeff Hamilton joined tenor saxophonist Red Holloway at the Lionel Hampton Jazz Festival at the University of Idaho.

Atsuko Hashimoto plays primarily jazz standards, augmenting them with solos. YS organ-ize Records, her first label, has described her playing as "pre-Jimmy Smith era, some Wild Bill Davis, some Milt Buckner, some Jackie Davis". Mrs. Hashimoto plays Hammond B-3 through one or two Leslie speakers. She often wears gloves or tapes her fingers before playing in order to enable smooth, fast glissandi without injury.

Valentin Serov • Dmitri V. Sarabianov

Valentín Aleksándrovich Serov, en ruso: Валенти́н Алекса́ндрович Серо́в (19 de enero de 1865 - 5 de diciembre de 1911) fue un pintor ruso y uno de los mejores retratistas de su época.

Valentin Serov was a Russian painter and one of the premier portrait artists of his era.

Valentin Serov • Dmitri V. Sarabianov
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